The term Asian-American Theatre can be used as an umbrella term to include al works and artists who can trace Asian heritage and roots. This genre of theatre varies greatly, and there are traditional pieces as well as modern pieces such as those written by David Henry Hwang. Now, Asian-American Theatre can be argued to mean te overall movement of ethnic-identified theatre that gave birth to particular region companies and branches. Many Asian-American playwrights, actors, and artists have joined together to be part of this movement that found roots as early as 1850. In the 1850s, traditional forms of Chinese entertainment came to the United States in the forms of acrobatics and puppet shows. Many Americans found this style of theatre interesting and exotic. These groups continue to expand till, in 1852, Tung Hook Tong took the first national tour of a Chinese opera. Unfortunately, anti-Chinese sentiments began to rise during the tough economic times of the 1870s. Many whites push back against Asian-Americans with many Chinese leaving California to find new homes in the United States. Chinatowns soon began to pop up throughout the US, and they brought with them their culture and theatre going as far as Boston and New York. Many Asian actors tried to take to the white stage, but often times they were forced to act as extras while whites played key roles even in Asian plays. Asian-Theatre took another hit during World War II. Japanese-Americans were essentially kept from the public eye. It was not until the 1949 Rodgers-Hammerstein musical Flower Drum Song came along that had a a set in an Asian-American world. Furthermore, with the rise of television and film many Asian-Americans felt left out. So, they formed the East West Players in Los Angeles. The EWP had no original pieces so it relied on previously done works and even classics from Asia. Later, the Asian American Theatre Workshop Theatre opened in San Francisco. The Pan Asian Repertory Theatre opened in 1977 in New York making it the fourth regional station for Asian-Americans in theatre. A major goal of Asian-American theatre at this time was to connect the Americanize children and youth to remember their heritage and the racism their culture faced in the United States. Some artists do not even wish to claim to be a part of the Asian-American theatre movement in order not to claim a certain ethnic background for their works. All in all, as the genre and style gains more support the United States will see a rise in this minority theatre and its prevalence on TV, film, and stage.
Asian American Theatre Summary
The term Asian-American Theatre can be used as an umbrella term to include al works and artists who can trace Asian heritage and roots. This genre of theatre varies greatly, and there are traditional pieces as well as modern pieces such as those written by David Henry Hwang. Now, Asian-American Theatre can be argued to mean te overall movement of ethnic-identified theatre that gave birth to particular region companies and branches. Many Asian-American playwrights, actors, and artists have joined together to be part of this movement that found roots as early as 1850. In the 1850s, traditional forms of Chinese entertainment came to the United States in the forms of acrobatics and puppet shows. Many Americans found this style of theatre interesting and exotic. These groups continue to expand till, in 1852, Tung Hook Tong took the first national tour of a Chinese opera. Unfortunately, anti-Chinese sentiments began to rise during the tough economic times of the 1870s. Many whites push back against Asian-Americans with many Chinese leaving California to find new homes in the United States. Chinatowns soon began to pop up throughout the US, and they brought with them their culture and theatre going as far as Boston and New York. Many Asian actors tried to take to the white stage, but often times they were forced to act as extras while whites played key roles even in Asian plays. Asian-Theatre took another hit during World War II. Japanese-Americans were essentially kept from the public eye. It was not until the 1949 Rodgers-Hammerstein musical Flower Drum Song came along that had a a set in an Asian-American world. Furthermore, with the rise of television and film many Asian-Americans felt left out. So, they formed the East West Players in Los Angeles. The EWP had no original pieces so it relied on previously done works and even classics from Asia. Later, the Asian American Theatre Workshop Theatre opened in San Francisco. The Pan Asian Repertory Theatre opened in 1977 in New York making it the fourth regional station for Asian-Americans in theatre. A major goal of Asian-American theatre at this time was to connect the Americanize children and youth to remember their heritage and the racism their culture faced in the United States. Some artists do not even wish to claim to be a part of the Asian-American theatre movement in order not to claim a certain ethnic background for their works. All in all, as the genre and style gains more support the United States will see a rise in this minority theatre and its prevalence on TV, film, and stage.